Sear Bliss Forsaken Symphony
Redstream RSR0161 November 2002
By Russell Garwood
Sear Bliss are an engaging band who play their own unique form of symphonic black metal. Poor production makes their sound ring of true bands, while extensive use of keyboards and genuine trombone and baritone sounds show parallels to their symphonic cousins. There are, however, numerous keyboard-laden almost ambient passages which fragment the extremity, augmented by a dark ethereal feel to the music matching the albums concept to perfection. The band consists of guitarists Csaba Csejtei (recently re-joined) and Istvan Neubrandt, drummer Zoltan Schönberger, Oliver Zisko on keyboards, Andras Nagy on bass and vocals and finally Zoltan Pal, the man responsible for the bass and baritone. Forsaken Symphony is the Hungarian bands fifth album.
Sear Bliss tinny guitars are largely chord-based and reasonably melodic, while the keyboards are clear when not playing simultaneously with other instruments. Zoltans drums are straightforward but powerful, while the rhythm section is completed by well performed if slightly inaudible bass. The brass adds a bombastic, theatrical feel to most tracks, while archetypal witch vox fit well all melody comes from the instrumentation. Standouts include an extreme but tuneful song, The Vanishing which fully utilises keyboards, opener Last Stand for its other-worldly ambiance, a more tuneful effort The Forsaken, and the slower, more melodic Eternal Battlefields.
Overall this a good, interesting concept album I have rarely heard true black metal mixed so successfully with symphonic elements. My only complaint is that Sear Bliss rigidly stick to an, albeit successful, formula, and it would be nice to see some more variety in structure, texture, dynamics and instrumentation. The production may be off-putting for some, but most fans of symphonic black metal and the more minimalistic forms of the genre would appreciate Forsaken Symphony.
Redstream RSR0161 November 2002
By Russell Garwood
Sear Bliss are an engaging band who play their own unique form of symphonic black metal. Poor production makes their sound ring of true bands, while extensive use of keyboards and genuine trombone and baritone sounds show parallels to their symphonic cousins. There are, however, numerous keyboard-laden almost ambient passages which fragment the extremity, augmented by a dark ethereal feel to the music matching the albums concept to perfection. The band consists of guitarists Csaba Csejtei (recently re-joined) and Istvan Neubrandt, drummer Zoltan Schönberger, Oliver Zisko on keyboards, Andras Nagy on bass and vocals and finally Zoltan Pal, the man responsible for the bass and baritone. Forsaken Symphony is the Hungarian bands fifth album.
Sear Bliss tinny guitars are largely chord-based and reasonably melodic, while the keyboards are clear when not playing simultaneously with other instruments. Zoltans drums are straightforward but powerful, while the rhythm section is completed by well performed if slightly inaudible bass. The brass adds a bombastic, theatrical feel to most tracks, while archetypal witch vox fit well all melody comes from the instrumentation. Standouts include an extreme but tuneful song, The Vanishing which fully utilises keyboards, opener Last Stand for its other-worldly ambiance, a more tuneful effort The Forsaken, and the slower, more melodic Eternal Battlefields.
Overall this a good, interesting concept album I have rarely heard true black metal mixed so successfully with symphonic elements. My only complaint is that Sear Bliss rigidly stick to an, albeit successful, formula, and it would be nice to see some more variety in structure, texture, dynamics and instrumentation. The production may be off-putting for some, but most fans of symphonic black metal and the more minimalistic forms of the genre would appreciate Forsaken Symphony.
